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Salah Asuhan is generally considered one of the most important works in modern Indonesian Literature and is commonly used as reading material in Indonesian literature classes. [2] Bakri Siregar wrote positively of Salah Asuhan, considering the diction unparalleled in its contemporaries and the characters well fleshed-out. [3]
Salah Asuhan (literally Wrong Upbringing, released internationally as The Misfit) is a 1972 film directed by Asrul Sani, produced by Andy Azhar, and starring Dicky Zulkarnaen, Ruth Pelupessy, and Rima Melati.
The film, which was based on an Indonesian legend and written by Y. B. Mangunwijaya, garnered him another Best Director nomination at the 1983 Indonesian Film Festival; [10] [11] he lost to Teguh Karya, director of Di Balik Kelambu. [12] Ami received another nomination the following year for Yang, but lost to Sjumandjaja of Budak Nafsu. [13]
In his first novel, Salah Asuhan (Wrong Upbringing), published in 1928, Muis depicted the problem of racial and social discrimination in the tragic story of Hanafi and Corrie. [6] The Western-oriented Hanafi and the feisty, liberal Corrie represent the conflict pre-independent Indonesia faced in choosing either to adhere to traditional values ...
Teguh Karya (born Steve Liem Tjoan Hok; Chinese: 林廉鹤; 22 September 1937 – 11 December 2001) was an Indonesian film director. Starting his entertainment career in theatre, he made his directorial debut in 1971 with Wadjah Seorang Laki-Laki in which he also wrote the screenplay.
In 1958, Lubis shared the Ramon Magsaysay Award for Journalism, Literature, and the Creative Communication Arts with Robert Dick, a publisher. [10]Lubis's novel Harimau!! Harimau! was named Best Book by Yayasan Buku Utama, a part of the Indonesian Ministry of Education and Culture, in 1975, [11] and received an award from Yayasan Jaya Raya (parent organization of the publisher Pustaka Jaya []) in
Atheis (English: Atheist) is a 1949 Indonesian novel written by Achdiat Karta Mihardja and published by Balai Pustaka.The novel, using three narrative voices, details the rise and fall of Hasan, a young Muslim who is raised to be religious but winds up doubting his faith after dealings with his Marxist–Leninist childhood friend and an anarcho-nihilist writer.
Nurbaya confiding to her mother after Samsu's move to Batavia; she feared he no longer loved her. In Padang in the early 20th century Dutch East Indies, Samsulbahri and Sitti Nurbaya–children of rich noblemen Sultan Mahmud Syah and Baginda Sulaiman–are teenage neighbours, classmates, and childhood friends.